The Kunsthistorisches Museum's Portrait of an Old Man sat unattributed in storage since 1989. Curator Gudrun Swoboda now argues its sculptural brushwork and facial modeling point to Gian Lorenzo Bernini, one of fewer than twenty paintings ever authenticated to the Baroque master.
Kisho Kurokawa's 1972 Metabolist icon promised residents capsules they could swap out as their needs changed. Ownership disputes and failing infrastructure meant none ever were. The tower came down in 2022, its capsules scattered to museums around the world.
O'Keeffe explains why she painted her flowers so large: to force viewers to stop and truly look, rather than settle for the sexual reading critics kept projecting onto her work. As she put it, nobody really sees a flower.
Drawing on a century-old naturalist's field guide, Maria Popova traces how cicadas — with no vocal cords, only drum-like tymbals — became nature's oldest unbroken musicians, loud enough to rival a jet engine and old enough to have serenaded Homer.
The Andoque of the Amazon know what we have forgotten: the forest's most beautiful creatures are also its most dangerous.
Blending "Throne of Blood" with "The Silence of the Lambs," the J-horror auteur stages a murder mystery inside a besieged sixteenth-century Japanese castle for his first jidaigeki feature.
An excerpt from Remembering Earth: Emmanuel Vaughan-Lee reads today's convergence of ecological and social crises as an invitation — to reawaken an ancient bond with the living Earth through love, remembrance, and sacred practice.
Findings across Design, Arts & Culture, Sound, Collecting, Document & Film, gathered each morning. Picked up wherever they were left.
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